The Impossible Chant: Connecting the Spiritual and the Human

The Impossible Chant: Connecting the Spiritual and the Human

In the poem "Cántico espiritual" by San Juan de la Cruz, we are thrown into the midst of a passionate encounter between lovers. The beloved, in an act of imprecation, identifies herself as the hunter pursuing the elusive and powerful beloved, who is likened to a deer. The complexity of the form of the poem is notable, with its use of two different verse measures and a unique rhyme scheme. This deliberate choice of meter and rhyme reflects the theme of impossible love that runs throughout the poem.

The use of heptasyllabic verses, also known as "verso anacreóntico," was a common measure used to express the pleasures of the flesh in Renaissance poetry. On the other hand, the hendecasyllabic verse, which had been introduced to the Spanish language less than fifty years prior to San Juan's writing, had already become the preferred measure for describing unattainable love. The combination of these two measures in the poem's structure reinforces its theme.

The rhyme scheme of the poem is equally significant. It connects the first two heptasyllabic verses (A and C) and the two hendecasyllabic verses and the third heptasyllabic verse (B, D, and E), creating a sense of progression at the end of each stanza. This mirrors the restlessness of the lover, who is in a state of disarray. The speed and desperation are evident in the lines: "Ni cogeré las flores,/ ni temeré las fieras,/ y pasaré los fuertes y fronteras." There is a powerful internal rhyme in these three future actions, emphasizing the willpower behind the journey.

As the poem progresses, the beloved engages in a conversation with herself: "Mas, ¿cómo perseveras,/ oh vida, no viviendo donde vives?" This dialogue then transforms into a fervent imprecation directed at the beloved – a curious choice, as by this point in the poem, San Juan's contemporaries would have already recognized that the deer represents God. The poet allows himself to succumb to despair, writing in a distinctly human manner. He meditates using the tools of Renaissance eroticism, which posited that unrequited lovers became ill because their souls had abandoned them, transferring their affections to the desired object. This transference, as described by Baltasar de Castiglione in "The Courtier," was believed to occur through the eyes, with one soul becoming enamored with the other. If both souls reciprocated, they would exchange places; if not, one member of the couple would be left with two souls while the other would wander haunted only by the memory of the gaze that left them empty.

The enraged huntress takes flight and, in an uninterrupted 41-syllable sentence, gazes into a pond, only to see her own empty eyes reflected back at her: "¡Oh cristalina fuente, si en esos tus semblantes plateados formases de repente los ojos deseados que tengo en mis entrañas dibujados!" Then, between the eleventh and twelfth stanzas, something indescribable happens: the beloved's radiance becomes unbearable. While there is no record of the actual eyes, as they would occupy the empty space between one quintet and the next, we do have a record of the lover's reaction: "¡Apártalos Amado,/ que voy de vuelo!–" The brilliance is so intense that it even interrupts the second verse of the stanza, splitting it into two half-lines; the first spoken by the lover and the second by the beloved: "–Vuélvete, Paloma, que el ciervo vulnerado por el otero asoma al aire de tu vuelo, y fresco toma." The deer, curious about the commotion the huntress has caused as she ascends the hill, emerges to catch a whiff of the breeze, and they make eye contact. This is enough for her soul to return to her body, allowing her to once again behold the entire world before returning to the ground.

The two stanzas that describe this return embody both the essence of Castilian Baroque and an ungrammatical impossibility: "Mi amado, las montañas, los valles solitarios nemorosos, las ínsulas extrañas, los ríos sonorosos, el silbo de los aires amorosos, la noche sosegada, en par de los levantes de la aurora, la música callada, la soledad sonora, la cena que recrea y enamora." Once again, we encounter a single sentence, this time consisting of 82 syllables, with no verb until the final line, which provides a landing. The rare rhyme between "montañas" and "extrañas," the alliteration of the letter "s" to describe rivers, air, and their sounds – these all contribute to the richly woven tapestry of the poem. The subsequent stanzas depict the lovers' encounter and their wedding, blending various poetic devices and structures with a humble and transparent language.

The allegorical value of the second and third parts of the poem, written several years after San Juan's escape from the prison of Toledo, emphasizes the immeasurable attention with which God responds to even the smallest human love. The huntress, who has transformed into a lover and will soon become a wife, describes how the beloved became enamored with just one of her hairs and dwelled within it. This synecdoche is immense in its audacity, representing the whole within the tiniest part. Her reciprocation of this act of unity is evident as she absorbs the image of the beloved in an eye that wounds her: "En solo aquel cabello que en mi cuello volar consideraste, mirástele en mi cuello, y en él preso quedaste, y en uno de mis ojos te llagaste."

In connecting the contents of these two sources, we can observe several common points. Both San Juan de la Cruz's "Cántico espiritual" and Rainer Maria Rilke's life and work explore the complexities of love and spirituality. They delve into the depths of human emotions and the longing for a divine connection. Both poets use intricate poetic forms and language to convey their thoughts and feelings, drawing on literary traditions and employing unique techniques to enhance their expressions.

From these two sources, we can extract three actionable advice for readers:

1. Embrace the complexity of love and spirituality: Just as San Juan de la Cruz and Rainer Maria Rilke delve into the intricacies of these themes, we should allow ourselves to explore the depths of our own emotions and spiritual experiences. Embrace the complexities that arise and seek to understand and express them through various creative outlets.

2. Experiment with poetic forms and language: Both poets utilize unique forms and language to convey their ideas. Take inspiration from their approaches and experiment with different poetic structures, meters, and rhyme schemes. Allow the form to enhance the content and create a richer experience for both the poet and the reader.

3. Seek a balance between the human and the divine: Just as San Juan de la Cruz and Rainer Maria Rilke navigate the delicate balance between the human and the divine, we should strive to find harmony in our own lives. Recognize and honor the human experience while also seeking a connection with something greater than ourselves.

In conclusion, the combination of San Juan de la Cruz's "Cántico espiritual" and Rainer Maria Rilke's life and work provides a deeper understanding of the complexities of love and spirituality. Through their exploration of these themes and their use of intricate poetic forms, both poets offer unique insights into the human experience. By embracing the complexity, experimenting with poetic forms, and seeking a balance between the human and the divine, readers can embark on their own journeys of self-discovery and spiritual growth.